#notes: need to work on anatomy. use guides/references more often

[themasterpostblog]

Pencil/2D Animation Resources Masterpost

5/10/24:

Hello, I broke into my old account so I could make a little masterpost of resources I come across for learning pencil/2D animation. (Free or affordable classes, places to get tools, videos to give insider insight, etc.) I may not be able to get everything included, so if you think of something, you can reach out and suggest things to add! I will be updating this over time, with notes on when it was last recently updated. And maybe I'll end up giving the old blog a refresh too. I likely won't be making new masterposts outside of this one any time soon, nor updating any old ones. It's been SEVERAL years, and the internet is a different place. I would assume most of the old links are out of date by now, unfortunately. I hope that this list is helpful to you as well, and if I'm incorrect in anything I list, I'm learning too! So please be patient with me and feel free to reach out with a correction. It's not finished yet, but Tumblr deletes my posts before I finish them, so I'm starting with posting the skeleton and slowly updating this)

Find a Community to Learn From!

(recommended groups to lurk/join/make connections and ask questions)

What Tools Do I Need?

PDF Guide to Animation Desks, as written by David Nethry

(next line)

Where Do I Get Tools?

(Places where you can buy art supplies, software, etc)

Cartoon Supplies

(Online seller who carries Ingram Bond paper, lightboxes, storyboard pads, blank cels, etc. See also: Lightfoot LTD, which is identical in every way to Cartoon Supplies and for the life of me I'm not sure the difference, though both are equally recommended along side each other.)

Jet Pens

(Ah... I love window-shopping this site. If you love stationary like I do, you'll be on this site for hours adding things to your cart... and inevitably removing them because it's not feasible to spend hundreds on pens and sticky-note pads.)

Dickblick

(I've found they have good prices on name brands, but I haven't purchased from them yet. Often, I'm too overwhelmed by all the choices.)

Improve Your Art/Learn the Basics!

(anatomy classes, starter tools, etc)

Aaron Blaise (Co-Director of Brother Bear)'s Online Classes

He runs very good deals on the classes occasional, but you can also do a year's access to all classes and keep what you download, which is very useful! They're short, quick lessons, and tend to veer into more "helpful tips" than teaching, from what I've personally noticed, but it's well worth the price if you get them at a good deal!

Inside Look at the Industry -- aka: the Special Features:

(behind the scenes stuff, etc)

Books are more useful than you might think!

(Richard Williams Animator's Survival Toolkit, etc) (check out gently used copies of these books on Thriftbooks for a good deal!)

Nifty Free Resources

(Things like height charts, references, color wheels, blog posts, videos, etc)

What Artists Can Learn From Aladdin's Incredible Color by J. Holt [VIDEO]

(spacing for formatting)

The Art of Color Theory: Guide for Animators, Designers, and Artists (Animator Artist Life)

(space for formatting)

Free software!

GIMP

(A classic, GIMP is an old friend of mine. The first software I downloaded for art, I used to use it almost entirely to create animated GIFs for the Warrior Cat forums. Ah, how time has passed. Nowadays I can't even remember how to animate a GIF on there, but such is life. I still use it to this day for digital art, even having Corel Painter. Before GIMP, I animated the old fashioned way -- MS paint and Windows Movie Maker. With determination, I scripted and animated a handful of Warrior Cat characters frame by frame. Each frame of Hollyleaf or whoever it was blinking was the likely source of death for our old computer, may she rest in peace.)

Storyboarder

(Storyboarder is a free software with which you can use to create professional and clean storyboards. It also provides printable storyboard templates so you can do you work traditionally and re-upload it easily into the software! It also works with Wacom tablets. Check it out! It's actually super cool.)

Pencil 2D

(A free, open source software. Simplistic design, switch between raster and vector, and best of all, again, it's free. I haven't used this one much yet, but I've seen it positively talked about by many! I'll update with more research when I have the chance.)

Krita

(I haven't used this one yet, so I can't speak on it either! But it's going on the list so I can come back and research it later. My poor laptop is not going to handle this many downloads lol.)

OpenToonz

(I also haven't tried this, but see above, haha.)

Blender - Grease Pencil

(Blender is well known for 3D animation, but they added a 2D feature called Grease Pencil as well.)

WriterDuet

(Free for up to 3 projects, very simple, but upgrades to a $10 a month plan, which is... eh, I'll keep my Scrivener for now. I used to write scripts in Microsoft Word or the Notepad on PC back in the day, I don't think I personally need the fancy features.)

Trelby

(A free screenwriting software, very basic and simple, good for beginners.)

Keep an eye out for

(Humblebundle occasionally does software deals -- a good art bundle at a discount can give you an easy start!)

[mitcheechee]

Hey, new follower here! (I'm actually in the wrong account so please don't mind me being anonymous!) I really love your art and I mainly wanted to say that your art and style is amazing and beautiful! Secondarily, do you have any tutorials or tips on drawing bodies, hands and I noticed you do blood? I understand if you'd rather not answer that; if so just only the first half! Love your art! Thanks for existing (if that makes sense)❤️

wah... first i just wanna say tysm!!! youre so sweet 😭

i unfortunately dont have any tutorials or anything made already and i dont really want to make any as of right now because i feel like i have a long way to go in terms of learning how to properly draw a lot of things. since i don't know what im doing id feel really lousy putting out a tutorial when i dont even have a lot of the basics down yet...

im gonna blab under the cut about tips (not really tips on drawing bodies themselves as a guideline, but what has helped me practice and thus allowed me to get better at drawing bodies in my own art), so u dont have to read all that if it doesnt interest u! but regardless thank u again for being so sweet!!! sorry i couldnt give u what u wanted.. maybe one day... 😭

again this is just how i practice, but its GENUINELY helped me get so much better.

all i can say as far as tips is to definitely practice with references as much as u can, it really will help u improve. i know people often dont like that advice too much but its really true... every time i use references to practice for a bit i can tell it helps me, and looking back at older art i know its true. i dont often use guidelines (i really need to...), or at least not in the sense that i do in most of the guides i see so i feel like i cant give much else in terms of advice tho, other than that.

anyway, its one thing to just use a reference, but really trying to get it down and learn it (learn the body, anatomy, how to draw it all) so u carry that knowledge on is sorta different, for me

what has helped me to really learn is this method of practice where i

draw a reference photo based off what i see

trace the photo

overlay both my trace and the first drawing i made

go back and choose key points on the photo/trace where i was very off and mark them as a little dot/line and then try to fix the original sketch with those dots/lines to match the photo (look below to understand what i mean LOL sorry)

try and draw it again from scratch based on what i see visually

and for number 4, what i mean is this:

lets say the 2nd is my visual (rough) drawing based off of the original

overlaying my original sketch on the reference i can see where a lot of points are off!

ill make note of a few of the areas that were very off and mark them, then get rid of the reference underneath. ill still look at it as a guide on the side, but overall try to just change the original sketch to match it instead of directly tracing!

i feel like this may not have been exactly what u mean as far as tips for drawing bodies, but ive found that in order to grasp them better in a way that helps u draw them on ur own, doing studies like this really helps! for me, at least, it allows me to better store things in my memory--because looking at the image and practicing doesnt feel like it really CEMENTS any knowledge, but seeing where i went wrong and then working backwards to try and alter it shows me where im lacking in skill, and helps me use that information later!

doing this allows me to understand how bodies take up space. it has helped me to see the body as more of a tangible thing while i draw freehand, and do it more accurately as well, instead of it feeling like its. a limp noodle i cant grasp LOL

i will say, tho, that for hands especially i almost always use my hands as a reference for what i want. like i dont even have a guide for that in terms of what i do to draw them out or guidelines i follow, i just straight up draw them based off what i see or imagine, i dont really do those step by step guidelines...

im sorry again i couldnt rly give u what u wanted, i just dont think im at that level where i can truly give any advice since im not good enough (yet ! we hope) for a genuine tutorial. if u mean something as far as like... body shapes and stuff im still not rly there yet either. i hope this helps even a tiny bit tho, if u read this far!!!

[wellnesschrist]

Why Experience Matters When Choosing The Best Chiropractor

 When it comes to your health, especially your spine, wouldn’t you want the best? Imagine your body as a finely tuned instrument, where every note must harmonise. A skilled chiropractor is like a maestro, ensuring your spine and nervous system perform at their best. 

But how do you choose the right one? Experience matters! This blog will explore why selecting the best chiropractor Christchurch professional is crucial for your well-being and how their experience can make all the difference.

The Expertise Behind the Practice

Chiropractic care isn’t just about cracking backs and sending you on your way. It’s a nuanced practice that requires a deep understanding of the human body, anatomy, and the various conditions that can affect it. A qualified chiropractor has spent years honing their skills and knowledge. 

They’ve seen numerous cases, learned from their patients, and stayed updated with the latest techniques and research. Choosing the best chiropractor in Christchurch means opting for someone who can effectively diagnose and treat your condition. 

An expert can tailor their approach to your specific needs, providing you with a personalised treatment plan that addresses the root cause of your discomfort rather than just alleviating symptoms.

A Track Record of Success

Experience isn’t just about time spent in the field; it’s also about results. An experienced chiropractor has likely built a reputation based on their success with previous patients. When searching for the best chiropractor Christchurch expert, take the time to research their background and patient testimonials. 

Look for reviews highlighting effective treatment outcomes, and don’t hesitate to ask for references. A chiropractor with a history of success is more likely to understand your condition and apply the most effective techniques. They know what works and what doesn’t, which can lead to quicker recovery times and long-lasting results.

Advanced Techniques and Continuous Learning

The field of chiropractic care is constantly evolving. New research, techniques, and technologies emerge regularly, and experienced chiropractors are committed to lifelong learning. They attend workshops, seminars, and training sessions to stay ahead of the curve, ensuring they can offer you the best possible care.

When you choose the best chiropractor Christchurch professional, you benefit from their commitment to continuous improvement. You can trust that they use the most effective methods and approaches tailored to your needs, leading to better outcomes and enhanced overall health.

Navigating Complex Cases with Confidence

Life can throw various health challenges your way, sometimes requiring more than basic treatment. Whether you’re dealing with chronic pain, sports injuries, or post-surgery recovery, an experienced chiropractor will have the knowledge and skills to navigate complex cases. 

They can assess your situation holistically and recommend appropriate interventions to ensure your journey to recovery is as smooth as possible. An experienced practitioner can identify potential complications, adjust treatment plans, and refer you to other specialists, providing comprehensive care. 

Choosing the best chiropractor in Christchurch means you have a partner who understands your health journey and is equipped to guide you.

Building a Lasting Relationship

Chiropractic care is often not a one-time fix; it’s a journey toward better health. An experienced chiropractor will build a rapport with you, fostering trust and understanding. This relationship is crucial for effective communication and collaboration. 

When you feel comfortable with your chiropractor, you’re more likely to share your concerns and progress, leading to better treatment outcomes. By selecting the best chiropractor Christchurch service, you’re not just choosing a healthcare provider but investing in a long-term partner in your health and wellness journey.

Conclusion: Choose Wisely for a Healthier Tomorrow

The experience of your chiropractor plays a pivotal role in the quest for a healthier, pain-free life. The right choice can mean the difference between temporary relief and lasting well-being. So, when searching for the best chiropractor Christchurch professional, consider their experience, success stories, and commitment to ongoing learning.

Invest in your health by selecting an experienced chiropractor to guide you toward a pain-free, vibrant life. After all, your spine deserves the best care possible!

[schoolcheatsheet]

How to study... Science!

Every subject is taught and studied differently. Science is my personal favorite subject, but no matter what yours is, optimizing how you study science will absolutely improve your performance in science-related classes.

Science is, more often than not, a very number and diagram-focused class (or classes: this guide also accounts for specific classes like genetics, zoology, meteorology, or just biology or physics. Whatever). This means we can use those elements in our note-taking and study efforts.

Reference sheets. I cannot even begin to explain the number of conversion charts, symbol values, threshold qualifications, or formulas you will have to use in any science class. If your teacher doesn't give you reference sheets for these sorts of symbol/numerical/formulaic things, make them. It is much easier to familiarize yourself with, and eventually memorize, this sort of data when it's all compiled in one place.

Diagrams/drawings. Much of science is based on diagrams, so use them! Print them out, draw them in your notebook, label them yourself for practice, do it again, draw it without looking at a reference this time, etc etc. Especially good for visual learners, having a mental image of how a structure or concept works wonders when recalling information on an exam or assignment. This also works for other mediums - I often created 3D stop-motion videos to describe certain processes or functions.

Flashcards. Flashcards can work for any subject but are especially useful for science because a lot of this subject is based off of exact and isolated values. I used flashcards countless times in chemistry, anatomy, and several levels of biology. They're a simple and quick way to memorize all the little bits of scientific information you'll need.

Lab procedure. I know it's common to recycle lab procedure handouts after getting them, but they are an AMAZING study tool! In science, labs are conducted for a reason: To demonstrate and explain, hands-on, what a concept is, why it works, and what the significance of it is. The lab procedure will walk you through each one of these things - and you'll probably have an easier time remembering it because you literally did it with your own two hands. This may be less useful in material science and physics, but I have found it to be of great importance in anatomy, chemistry, and biology.

Written/typed notes. A lot of them. Science is generally less conceptual of a subject as it is factual. Having written or typed notes about all the technicalities of a certain subject, all the little details, exceptions, formulas, etc WILL absolutely help you retain and memorize all of the information much quicker and frankly much better.

Outside application. Science is a wonderful subject because it studies the natural world - so any scientific concept learned can be further reinforced by applying it to something we see in the real world. For instance, I would often deepen my understanding of chemistry concepts by making up and explaining how a certain reaction, formula, or principle would work in any random, real-life scenario. Plus, much of science is using certain principles to explain completely new reactions, case studies, or experiments.

TLDR: Science is a very hands-on, factual subject that is easy to observe anywhere you step outside. Much of this subject is visual, formulaic, and specific, meaning that procedures, reference sheets, diagrams, application of theory, and detailed notes are going to be super helpful, plus some other points. Happy studying!

[4filen0tfound4]

[ID: A drawing of Amy Rose with dramatic cool lighting. Her quills are now up, stylized similar to her classic quill shape, and her muzzle and arms are a dark brown. The background is a dull yellow and the name “Amy Rose” is spelt down vertically, typed in a golden yellow. /End ID]

Giving myself a little challenge every night b4 bed !!! Here’s an Amy I got out of it ^_^*

[zulivaris]

Art Block tips that helped me

 I’ve recently experienced art block after 3 or so months of overcoming my last one. Thankfully this block only lasted a few days thanks to some things I’ve observed and noted down from the previous time. So I’m sharing these few tips in hopes that it might help someone get unstuck :D!

First and foremost if you’re tired, sad or anxious don’t be surprised that you can’t make art, go and take care of yourself by treating yourself with kindness and patience, the sketchbooks and canvases will wait for you :)

The tips are under here:

Separate art studies from the creative time:  When you do art studies you’re there to focus on specific things, learn and understand how things work so you can apply them later in your art. Studies take a lot of energy and focus and are the opposite of the creative "flow” of making your own pieces. If you combine the two the results are either unfocused studies or stiff drawings. When you sit down at your desk ask yourself “Do I want to learn something new or do I want to create something of my own?”

When you have an idea don’t be afraid of being messy: Let’s say you want to make a picture of several cats kolo dancing in the moonlight. How do you go about doing this? Well since you came up with the idea you already have a vague image in your mind, sketch it out with simple shapes, stick figures, circle and spheres etc Don’t worry about cat anatomy, or the dancer’s moves, sketch out the essence of it. This method removes the need to be perfect or accurate. 

Ok after the messy sketch then what? Well now that you have sketched out the essence of your idea (and hopefully had fun doing so) now you go on to look for references! You put the creative process on pause and you can do a few brief studies if you need to: anatomy, color schemes, values, poses. Pick out a few of your favorites but don't obsess over them, they are a guide, a tool.

You know much more than you think. You’ve probably been drawing for a few years now. You’ve probably done some studies and drawn more than one type of subject. Then you have already internalized some of that information. I used to be obsessed with capturing the minute detail of the subject, and not be able to draw ANYTHING without reference. Instead of a useful tool, references became another obstacle to my creativity. That’s perfectionism my friend, and that’s no good. Here is an exercise a good friend of mine offered: Draw a few characters, animals and objects from imagination. Make sure that the subjects have no personal value to you (no ocs for example) so that if you make a mistake you won’t feel bad about it. Make the process relaxed and comfortable, pour a nice cup of joe, listen to your favorite music ... You will notice that you do indeed know how to draw some things without reference, and it’ll help with your confidence. 

The more you do studies the more you understand This seems evident but the more you understand your subject the freer you can be and the easier it’ll be to draw it from imagination in the future. If you really struggle with something to the point of frustration (as in you can’t get it right even with reference) It means you have to study it. Have a study list, for example: hands, perspective, color theory etc. And one of those days you want to study pick something from the list, and look for videos on youtube or useful sites like line of action etc. Only study one thing at the time. You can go from studying hands to studying arms since they’re more immediately connected, but you can’t study hands and then jump to learning perspective right after. Trust me you can learn perfectly fine with the resources online, and I’m sure you’re clever enough to do it :D

Mistakes don’t mean you “suck”  I’ve noticed that the two most common causes for art block are perfectionism and lack of self-confidence.  The two can often go in tandem which is worse :’D But let me remind you of something, you can fix your piece along the whole process. Use erasers, lasso tools, liquify , select, paint it all over etc If something looks off to you then you also know deep inside how to fix it. Useful ways to see what clunks: flip canvas horizontally (helps with placement, proportions), turn the image to grayscale (helps to check values and where your eye tends to look), look at your image in thumbnail size and ask yourself if it’s clear, see the pose’s silhouette and ask yourself if you can tell what the character is doing etc. Don’t fret, everything can always be fixed :)

Perfectionism, sometimes it stops you before you begin Perfectionism causes you to overwork a piece, it makes you draw less, it makes art stressful, it brings insecurity. Let’s remove it with a simple exercise. It can be combined with the “draw things from imagination” once you’ve drawn something you like: dont do line art, don’t shade it, keep it as simple and crude as possible and then...post it. Yes, post it. You’re not at your best? You’re only human, this will help you embrace that very human side of you. You make mistakes. So what? The more mistakes you make the more you know what you need to study and the better at art you become. Mistakes are there to show us what we need to learn. See them as another tool and not a sign of failure.

Make the process as enjoyable as possible: You like art. You love drawing. Never forget this. Otherwise why are you drawing if you don’t enjoy it? It’s easy to fall prey to the mentality of those relatable memes that “art= suffering” or “I can’t even draw the other eye”. No no no my friends, these messages are fueling your insecurities instead of overcoming them. Let me tell you what, art is fun. It is. Art is fun, because I decided to make it fun again. And you should decide on that too. Personally I adore lineart but my hand-eye coordination is lacking to do it digitally, so....I just skipped it. Yes. I skipped it. I do the sketch, I clean it up a bit and then jump onto color which I adore. It allowed me to draw more and more freely. When I draw I listen to music, make strokes with the rhythm, I take breaks often and I drink my favorite iced teas. If you don’t like coloring do it in grayscale, if you love lineart then do that etc It doesn’t mean you won’t learn your weak points in the future with studies and practice, but you won’t let your weaknesses prevent you from drawing at all. No no, you won’t let them. You draw because you want to, despite of them.

Don’t wait for inspiration, provoke it  Inspiration is not a divine and capricious muse. You make inspiration. It’s easy just collect all the things you like, music, artists, objects, characters, animals, patterns, plants etc Make boards on pinterest or similar sites, combine things you like. You like suits? You like birds? You can draw a bird in a suit, or a bird-inspired suit design, there is frankly a lot of ideas that can spring up from little things like these.

When a project stops being enjoyable either pause it for now or move on to the next thing. Pieces aren’t precious. They’re not “the one time I got x right” they are one of many. This advice goes mainly to hobbyists who can afford the luxury of passing to a new project. I have a WIP of a character who is overly complicated (I enjoy a challenge from time to time) sitting for half a month. I sometimes come back to it and add something... but as soon as it starts to create discomfort and insecurity instead of enjoyment I move onto something else. In the meantime I created 3 or 4 new pieces. If I had waited on finishing that piece I would have been severely creatively and physically exhausted. The art comes from you, not inspiration. The more art you make the better you become.

That’s about it :D I know it’s long but I prefer to be thorough and cover all the possibilities. If you have read of this: Thank you so much I hope this helps you at least a bit, if it helps only 1 other person I’d still be very happy. Have a nice one, and kick art block’s butt!

[help-im-a-medstudent]

Resources that got me through (UK) med school

Hello everyone! As we are at the start of a new year, I’ve collated this list of online resources/apps that saved me during my revision at various points of med school. I’ll put the links and why I think they are good. These are UK-based resources as I often found when I searched things that US stuff came to the top of the list and that wasn’t always helpful for learning management because guidelines etc differ. 

1. TeachMe Series

These are developing all the time and they have added Obs and Gynae, Paeds and Physiology which are new and I haven’t used. They are kept up to date and written by current health care professionals, and edited to ensure they are correct. The topics have really good diagrams, clinical relevance and key points. 

a) TeachMe Anatomy

When: Preclinical years

Pros: colour-coordinated diagrams, each topic has a clear structure, including vasculature, nerves etc. Clinically relevant links

Cons: detail can be a little overwhelming, I would use this to make notes that I then revised from (definitely not for last minute revision!)

b) TeachMe Surgery

When: Clinical years - especially final year when we had a specific surgery placement

Pros: there are two ways you can approach things - by presentation or by diagnosis which really helped me for linking differentials. Also it has topics on the practicalities of surgery and perioperative care which I will probably continue to use as reminders for my surgical job next year

Cons: If you need to know exactly how a surgery works it might not go into specific details about the operation, but it is aimed at med students and we didn’t really need to know that. Also, it is kept up to date but check the date the topic was written and consider triangulating sources for management because guidelines change

2. Geeky Medics

These are again all topics written by healthcare professionals then edited. They have a wide range of topics but are less focused on conditions like diagnosis and management and more about practical OSCE guides or how to be a doctor, with videos and checklists. It also has an app but you have to pay for it. 

When: Throughout medical school (and beyond!), particularly for practical or data interpretation exams (I go back to their interpreting LFTs and also death verification and certification posts a lot) 

Pros: good for demonstrating how to do various examinations and for revision because you can test other people and use a checklist. Also have lots of free quiz questions on geekyquiz and also loads of cases to take histories from each other without having to make it up yourself

Cons: not comprehensive when it comes to revising, and the search function i find can be a little...erratic with what it shows you.

3. BNF

There are two places you can find the BNF - NICE or Medicines Complete. There’s the same information on both, try them out and see which you like better in terms of layout. Also download the app, because the interactions checker is a lot quicker to use than on the web. 

When: whenever you’re learning about management of conditions and in the run up to the PSA you’re going to need to be very familiar with this website, so may as well start early (and you will carry on using it beyond med school) 

Pros: The treatment summaries are up to date and based on NICE guidelines so are UK specific. I liked to refer to them in revision because it’s a good single reference point when doctors give you conflicting treatment ‘preferences’. The pages for the drugs are set out in a uniform format and it’s really easy to find the information you need. 

Cons: the website is not always great for the pharmacology of drugs/saying which class a drug is part of. The treatment summaries are wordy and you have to sift through them sometimes, so not for last minute revision.

4. Almostadoctor

Again articles are written by doctors and then edited and ensures they are up to date. They have references at the bottom of the page for more detail but are a very good summary of conditions. 

When: all through med school. Has basic clinical skills, diagnosis and management 

Pros: The drugs section is very helpful for common drugs and has some simple pharmacology in there, and has flashcards for each topic if you find it helpful revising off those 

Cons: tends to be split by condition rather than symptoms, there are some ways of comparing differentials for example chest pain but it makes a big table which i find confusing

5. NICE CKS 

Oh boy is this site my saviour in GP, but I did use it in final year for some core conditions. It has referral criteria, decisions for management but it does allow for plenty of your own clinical judgement.

When: definitely more for finals to aid your revision, but after that if you end up on a GP rotation this is like a bible.

Pros: It’s really good for reminding you of red flag symptoms to check and also gives contraindications to certain management options

Cons: Not necessarily good for telling you what examination findings to expect and the site can involve clicking on lots of links taking you to other pages and then you can’t remember which part you came from. 

If anyone has any others that I’ve not mentioned feel free to add! sorry for the long post, but I hope these are helpful and good luck everyone starting a new year of med school! 

[nim-lock]

Art Career Tips, 2021 Edition

Here’s an edited version of my 2019 answered ask, because... this feels relevant. 

It is a problem of capitalism that folks equate their income as a judgement of their value as people; and let me preface. You are worth so much. You have inherent value in this world. Your income is not a judgement on who you are (plenty of billionaires are actively making the world worse). LARPing self-confidence will go a long way to helping you get paid more for your work, because clients will believe that you know what you are doing, and are a professional. 

& real quick—my own background is that I’ve been living off my art since 2018. I went to art school (Pratt Institute). I work in a publishing/educational materials sphere, and a quarter of my income is my shop. Not all of this information may apply to you, so it is up to you to look through everything with a critical eye, and spot pick what is relevant. 

So there are multiple ways of getting income as an artist; 

Working freelance or full-time on projects

Selling your stuff on a shop

Licensing (charging other companies to use your designs)

This post primarily covers the freelance part; if you’re interested in the other bits there is absolutely info out there on the internet. 

IF you are just starting (skip to next section if not applicable) dream big, draw often (practice helps you get better/more efficient), do your best to take "a bad piece” lightly. You’re gonna RNG this shit. At some point your rate of “good” works will get higher. Watch tutorial videos & read books. A base understanding of “the rules”; anatomy, perspective, composition, color helps you know what the rules are to break them. This adds sophistication to your work. One way you can learn this stuff is by doing “studies”—you’re picking apart things from life, or things other people have done, to see what works, and how it works. 

Trying to turn your interests into a viable career means that you are now a SMALL BUSINESS; it really helps to learn some basic marketing, graphic design, figure out how to write polite customer service emails; etc. You can learn some of this by looking it up, or taking skillshare (not sponsored) classes by qualified folks. Eventually some people may get agents to take care of this for them—however, I do recommend y’all get a basic understanding of what it takes to do it on your own, just so you can know if your agent is doing a good job. 

Making sure your portfolio fits the work you want to get

Here is a beginner portfolio post. 

Research the field you’d like to get into. The amount people work, the time commitment, the process of making the thing, the companies & people who work for them. 

Create work that could fit in to the industry you’re breaking into. For example, if you want to do book cover illustration, you draw a bunch of mockup book covers, that can either be stuff you make up, or redesigns of existing books. If you’re not 100% sure what sort of work is needed for the industry, loop back into the portfolios of artists in a similar line of work as whatever you’re interested in, and analyze the things they have in common. If something looks to be a common project (like a sequence of action images for storyboard artists), then it’s probably something useful for the job. 

CLIENTS HIRE BASED ON HOW WELL THEY THINK YOUR WORK FITS WHAT THEY WANT. If they’re hiring for picture books, they’re gonna want to see picture book art in your portfolio, otherwise they may not want to risk hiring you. Doesn’t have to be 100% the project, but stuff similar enough. If you aren’t hired, it doesn’t mean your work is bad, it just wasn’t the right fit for that specific client. 

If you have many interests, make a different section of your portfolio for each!

Making sure you’re relevant 

Have a social media that’s a little more public-facing, and follow people in the career field you’re interested in. Fellow artists, art directors, editors, social media managers; whoever. Post on your own schedule. 

Interact with their posts every so often, in a non-creepy way. 

If you’ve made any contacts, great! Email these artists, art directors, editors, former professors, etc occasional updates on your work to stay in touch AND make sure that they think about you every so often.

Show up to general art events every once in a while! If you keep showing up to ones in your area (when... not dying from a sneeze is a thing), folks will eventually start to remember you. 

Industry events & conferences can be pricey, so attend/save up for what makes sense for you. Industry meetups are important for networking in person! In addition to meeting people with hiring power, you also connect with your peers in the community. Always bring a portfolio & hand out business cards like candy. 

Active job hunting

Apply to job postings online.

If interested in working with specific people at specific companies, you could send an email “I’d love to work with you, here’s my portfolio/relevant experience”, even if they aren’t actively looking for new hires. Be concise, and include a link to your work AND attached images so the person reading the email can get a quick preview before clicking for more. 

Twitter job postings can be pretty underpaid! Get a copy of the Graphic Artists’ Guild Handbook Pricing & Ethical Guidelines to know your rate. I once had a twitter post job listing email me back saying that other illustrators were charging less, and I quote, “primarily because they’re less experienced and looking for their first commission”. This was not okay! For reference, this was a 64-illustration book. The industry rate of a children’s book (~36 pages) is $10k+, and this company’s budget was apparently $1k. For all of it. 

Congrats you got a job! Now what?

Ask for like, 10% more than they initially offer and see if they say yes. If they do, great! If not, and the price is still OK, great! Often company budgets are slightly higher than they first tell you, and if you get this extra secret money, all the better for you. 

Make sure you sign a contract and the terms aren’t terrible (re: GO GET THE  Graphic Artists’ Guild Handbook Pricing & Ethical Guidelines) 

Be pleasant and easy to work with (Think ‘do no harm but take no shit’)

Communicate with them as much as needed! If something’s going to be late, tell them as soon as you know so they aren’t left wondering or worse, reaching out to ask what’s up. 

And if all goes well, they’ll contact you about more jobs down the line, or refer you to other folks who may need an artist, etc. 

Quick note about online shops/licensing and why they’re so good

It’s work that you do once, that you continuously make money off of. Different products do well in different situations (conventions vs. online, and then further, based on how you market/the specific groups you are marketing to), so products that may not do well initially may get a surge later on. 

Start with things that have low minimum order quantity and are relatively cheap to produce, like prints and stickers. 

If you are not breaking even, go back to some of the earlier portions of this and think about how you could tweak things as a small business. Ease of access is also very important with this; for example, if you only take orders through direct messages, that immediately shuts off all customers who don’t like talking to strangers. 

Quick resource that you could look through; it’s the spreadsheet of project organizing that I made a while back 

Licensing is when people pay you for the right to use your work on stuff they need to make, like textbooks or greeting cards. This is generally work you’ve already made that they are paying the right to use for a specified time or limited run of products. This is great because you’ve already done the work. I am not the expert on this. Go find someone else’s info.

“I am not physically capable of working much”/ “I need to pay the bills”

Guess who got a hand injury Sept 2020 that messed me up that entire month! I had a couple jobs going at the time that I was terrified of losing, but they were quite understanding when I told them I needed to heal. So:  Express your needs as early as you know you need them. Also do lots of stretches and rest your hands whenever you feel anything off; this will save your health later. Like, the potential of a couple months of no income was preferable over losing use of my hands for the rest of my life.

This continues to apply if you have any other life situation. Ask for extra time. Ask for clarification. If you tell people ahead of time, folks are often quite understanding. Know how much you are capable of working and do your best not to overdo it. (I am.. bad at this)

Do what MAKES SENSE for your situation. If doing art currently earns you less money than organizing spreadsheets, then do that for now, and whenever you have the energy, break down some of the tips above into actionable tiny chunks, and slowly work at em. 

The original ask I got in 2019 mentioned ‘knowing you’re not good enough yet’. Most artists experience imposter syndrome & self-doubt—the important thing is to do your best, and if anything, attempt to channel the confidence of a mediocre white man. If he can apply to this job/charge hella money for Not Much, then so can you! 

Check out this Art Director tumblr for more advice!

Danichuatico’s Literary Agent guide

Kikidoodle’s Shop Shipping Tutorial

Best of luck!

–

Once again disclaimer this post is just the ramblings of a man procrastinating on other things that need to be done. I’ve Long Posted my own post so that it turns into mush in my brain if I try to read it, but I wrote this so I should know this content. If you got down here, congrats. Here’s a shrimp drawing.

Yee Ha. 

My reference post tag My tip jar

[same-side]

Do you have any tips on digital lineart and/or digital painting? I’m practicing on ibisPaint X and was wondering if you had any wisdom to part.

Hey there! I tag all of my art stuff under #art reference . You’ll find step by step processes of some of my works in addition to full tutorials, tips, and other answered asks there. I also sometimes post wip vids to my Instagram @sameside1301

I’ve recently answered a couple of questions that you can find in there on just general wisdom with painting/drawing (how long it takes me, how to use references, etc.).

That said, some tips I shared with a friend recently...

Note that my program is Procreate, but most art programs have analogous tools and brushes.

For lineart:

I see a lot of new artists start out with using brushes like these two, monoline and fine tip:

The names are inconsequential - they differ programme to programme. Just pay attention to the shape and oppacity. They’re solid; they have no pen pressure or tapering or flow. This makes the lines stiff and one dimensional; they appear to end abruptly which is.... generally unappealing.

Try using brushes shaped like this instead:

Brushes that taper at the edges, like studio pen, will provide better contrast and guide the eyes. The lines will be more natural and provide better differentiation between the start and end points. Personally, I use the one below it called hard airbrush. Note that while it doesn’t have taper, it does have opacity, which can achieve the same affect in conjuncture with pen pressure.

For painting and lineart, these are the brushes I typically use:

I get asked about anatomy a lot, in addition to how to get such smooth, stable lines. One little trick I used when I first started drawing was a silhouette method. Since I’ve got uhhhhhhhhlotofhours under my belt now with drawing I don’t tend to need this method any more, but when starting out, I found it extremely helpful. I still rely on this method for paintings, just not for lineart.

I start with a colorblock just to get the basic flow of the picture out. from there, i erase or add to fill in details, and keep working until the silhouette resembles the idea that I have in mind. Once I’m satisfied that the anatomy is correct and the pose is proportional and the flow/pose feels interesting, I trace the silhouette. Then I add in the central details. Its way easier to just zoom in and mindlessly trace the silhouette than to struggle with perfecting the lines and proportions from the start! This also ensures smooth lines because you’re not having to try and redraw and recorrect the same line five hundred times.

This can also be useful if you don’t have a pose in mind already. You can just scribble out a blob and go hey that looks... vaguely like an elephant.... and then come up with an interesting and unique elephant. I’ve heard of a lot of artists using this method for art block.

This also helps with something I’ll refer to as “white space distortion” for lack of a better term. When you’re doing lining, the white space of your canvas will make everything seem wider or “fatter” than it actually is - its the same concept as how a room painted with a lighter color will appear larger than a room painted black. A dark room can feel claustrophobic. So keep this in mind when working on a lineart. By using a colorblock, you’re directly projecting the shape as a silhouette and ensuring your brain is properly processing the proportions. This distortion happens most often to me with heads!! Whenever I draw a head it comes out bigger than what would be directly proportional, because I’m referencing it from a full-color screenshot! If I started on a head silhouette, I would know that its already proportional! But instead, I just have to adjust it afterwards to suit the body!

When painting, if you have a liquify tool - that will be your best friend!! I frequently use the “push” aspect of the liquify tool to adjust things... moving the bridge of a nose ever so slightly higher, widening the corner of an eyelid, etc. using this ensure I don’t have to repaint the same portion of a face over and over and over again until I get it to be perfectly proportional / perfectly located.

[evolutionsvoid]

During my research and years of traveling, I have been graced with the chance to see some truly beautiful sights. All the lands and habitats I have seen are each gorgeous and wondrous in their own way, but there is no denying that some have truly filled me with awe. The obsidian sands of volcanic deserts streaked with glowing lava rivers, the myriad of colors that flow throughout the rainbow mountains, and the bounty of life that thrives in the great rainforests. Another one of these grand sights that I have witnessed was found far below the surface, down in the depths of the Underworld. The fungal forests were quite a treat to see, and I thought those were the only surprise that was left for me down there. I was thankfully proved wrong when I had the chance to glimpse into the heart of a geode canyon! These habitats are easy to describe but impossible to truly capture. Many of you must know what a geode is, a hollow rock that is filled with minerals and crystals. Those tiny things are quite pretty, but now imagine one the size of a castle! Or bigger! Geode canyons are essentially caverns and caves that are lined and filled with minerals and crystals. Massive spires and pillars of these gorgeous crystals, they practically grow from the walls and floors like flowers! If the world was crafted by a jeweler, than these habitats would be their masterpiece! Great crystalline trees bursting from the stone, rainbows of gems and minerals coating every surface! I saw a great violet structure that was big as bridge spanning across the entire cave, hanging above a spiky sea of blues and purples! What I was able to see from my vantage point was breathtaking enough, I can't even imagine what it would have been like to walk inside it. Going into the geode canyon, however, was strictly forbidden, so I made do with peeking through cracks and openings. While it certainly isn't a place for surface dwellers like myself, these lands are also closed off to most of the Underworld population. While these massive caverns of glassy rainbows and gems are beautiful to see, they are also delicate. Though a crystal can be thick as a tree trunk, my guides say that I alone would be strong enough to crack it. Not all of these structures are strong as stone, so this beauty can be easily damaged. This is what happened to quite a few of these environments. It was said that there were many more of these places, but when the great civil war broke out in the Underworld, quite a few were destroyed in the struggle. Even when fighting didn't take place directly in these caverns, the sheer power of these battles caused quakes that swam through the rocks and shattered the nearby crystals. Now only a few of these geode caverns remain pristine and pure, their ancient structures still intact. Those that weren't ground to dust are still growing, but you can clearly see the damage that persists to this day. So now these lands have received protection, each one of them being labeled as holy grounds. The public are not allowed in these places, in fact, almost all demons are incapable of setting foot here. Their size, bulk and strength can easily damage these delicate growths, so they are not allowed in. Instead, these places can only be visited by shades, and only those who have been blessed by the churches. Their lightweight and finesse allow them to travel through these places without harming them, so these appointed members now serve as their caretakers. Geode caverns are believed to be holy gardens that were created by Alauticus, the God of Stone. Stories say that they were made when Alauticus sought to cheer up Ostranel, who was hurting after the betrayal of the Desmodals. Knowing that her work was filled with color and beauty, he made these rainbow gardens to honor her and to bring more gorgeous life to the Underworld. Ever since their destruction, the churches of the Underworld have sought to heal these shattered lands. Shades who have taken the vow of the Gods Below act as gardeners and caretakers, tending to the growths and ensuring no harm comes to them. The only demons who are allowed in these caverns are Stone Weavers, but only those who have truly passed their training. With their abilities, they not only can walk these lands safely, but they can also use their powers to heal and promote growth. In turn, Stone Weavers view geode caverns as places of peace and meditation. Those troubled by the emotional stone and the worries of the mind may find calm here, either meditating amongst the spires or focusing their mind to carefully heal the cracked structures. Churches and temples that are bound to Alauticus are often found near these caverns, but they are never within them. Instead, these places are constructed near openings and cracks that lead into the canyon, using the colorful view as artwork. In these churches, you will find the grand stained glass windows replaced with mighty cleaves and cracks that reveal gardens of crystal and color. Though random people are not allowed to enter these caverns, that doesn't mean there is no life to be found here! Animals do visit these crystalline lands, but most of them are small. Due to the pointy sharp nature of crystals, most large beasts would find walking here painful and climbing these razor walls risky. Smaller critters, however, find it easier to slither around these structures and traverse these sharp growths. One of the best example of these denizens would be the Dollheim! These odd little invertebrates use long spindly arms to climb amongst the crystals and growths. Their hands have long thin fingers that are coated in small hooks to give them better grip, and their lower appendages serve as climbing tools in a pinch! You can see them swing from these crystals like monkeys, bounding about in search of prey. They feed primarily on bugs and worms, using their long fingers to probes holes and fish out morsels. From what observations I could make, they appear to be quite energetic and playful. When not searching for food, you can see them chase each other about and socializing with others. These little guys seem to have a lot of fun!

At some point, though, it stops being about fun and games. Predators are something they must worry about, so they have to be wary. Their small size and agility can help outrun and outmaneuver beasts, but sometimes they need something more. You may have noticed their rather strange head and huge "eyes," as they stick out for such a spindly critter. In truth, though, these massive yellow "eyes" are not their actual eyes. If you look below them, you may notice little black dots that you may have mistaken for nose holes. These are their true eyes, and the big things above them are actually light-producing organs. When predators are in pursuit, and they must escape, the Dollheim can activate these huge eye-like things to unleash a powerful flash of light. This alone can easily blind an attacker and disorient them, but in geode caverns, the effect is multiplied tenfold. With all the crystals and shimmering minerals, this flash of light can cause a massive light show that fills the entire cave. All those who are unprepared will be blasted and temporarily blinded, giving the Dollheim a chance to escape. It is a spectacle to see, but one that requires good eye protection to truly witness. Thankfully, the Dollheim's true eyes are very good at dealing with these sudden exposures, so they are hardly affected. When not being used for defense, the Dollheims will use these big light organs to signal to one another and communicate. Even then, you should wear goggles when they do this in a geode cavern. One of the times I was peeking in was when a Dollheim decided to unleash a flash and I was seeing colorful spots for an hour! An interesting note about Dollheims is that they caused quite a confusion for us surface dwellers when they were first encountered. The first time anyone up above ever saw them was when a carcass was found deep in a cave. It is now believed that this specimen had been taken by a predator and was carried off as a meal. When an expedition passed by, it startled the eater and they left behind their food. The body was discovered and speculation immediately kicked in. Since it was dead and chewed up, they could only guess about this odd creature. And since this happened long ago, when the Underworld was still seen as a place of myth and fear, no one had any references for this beast. So the researchers at the time drew up the Dollheim as a spindly goblin creature, who walked on its rear limbs and had huge eyes. It was quite an alien looking thing, and one that made no sense. People couldn't understand how it could walk upright on such thin limbs, not knowing that these appendages actually folded underneath and were not used for primary locomotion. Its true eyes were glossed over, and the light producing organs were seen as its eyes. The resulting image of the Dollheim was this gaunt goblin that haunted the caves and caverns. Some correctly guessed that it used these "eyes" to blind foes, while others thought that they could kill any who gazed into them. Names like "Cave Goblin," "Eye Goblin," "Blindheim" and "Cave Terror" were thrown around, and that was what we thought the Dollheim was for far too long (Makes me think of the Two-Headed Troll debacle)! Only when expeditions were sent further down decades later did they actually discover their true nature and anatomy. These treks became crucial to the first understandings of the Underworld, and they were the first ever look into this buried world. They served as the great first step into this unknown land, so I tip my cap to them in that regard. Reading them now, however, is a bit rough. Not much was known about the Underworld at the time and the denizens of this land were not regarded highly. It was a time when people thought demons were born from lava and ate babies, and boy does the writing reflect that attitude. If you ever give these journals a read, be prepared for a lot of uncomfortable sections and old fashioned "terms." I think my first attempt at them had me practically pull my collar off with all the "yikes" moments. The past is important for the present and we can learn much from it, but there are some things that are best left behind.     Chlora Myron Dryad Natural Historian           -------------------------------------------- This entry may be about an Underworld critter, hard to tell. You might have to do some digging to find it!

[toxicart]

Had someone ask me on twitter for some art advice and tips.

Might as well share it here too.

Get into the habit of doing figure drawing, it helps with anatomy. 

Try to push out of your comfort zone, even if a drawing doesn't come out right you're still gaining experience and becoming more accustomed to how the body moves. 

Start looking into and trying perspective and when watching movies or shows, make mental note of how staging and cinematography plays into the emotion and feel of a scene. 

Try not to get caught up in a single body type, variety adds to more interesting and memorable designs. 

There's lots of great tutorials and tips online, don't be afraid to use them. And try to build up a folder of references. When referencing, don't just copy the image. Try to break it down into shapes. Use the negative space as a guide on where to put the limbs. 

Don't be afraid to fail. Experiment. Draw that idea you have. And draw as often as you can. But don't feel bad if you get artblock. Artists still need breaks and can become burnt out. If your hand starts to hurt, stop. Learn hand exercises and try to draw with your shoulder instead of your wrist, there's videos of people explaining it better. But drawing with your wrist or holding your pen/stylus too hard can give you carpal tunnel. 

Don't be discouraged if you don't get the numbers you're looking for on your posts. It takes time. Try to support other artists when you can. And if you recieve constructive criticism, try to understand where it's coming from and decide if you'll take it into consideration. If its not constructive, try not to let assholes get to you. Your art isn't for everyone and you draw for yourself. Unless they're paying you, you don't owe them shit. 

I see you're taking commissions. Make sure you have a Terms of Service and that if you send clients a wip or sketch for them to approve, that you watermark it so they can't steal it without paying you. Though personally I need payment upfront and I won't give a refund after they approve my sketch. You can look at other artists commission info and ToS, but don't copy paste/steal anything word for word. Use it as inspiration or a guide if they have something you think is important. Such as, no refunds or what currency you want payment in.

I'm still a developing artist myself but if I knew this stuff when I was beginning, I think I'd be a lot further in my skills then I am now. Atm I really struggle with perspective, lightning and colors. So that's what I'm working on. You never stop learning as an artist, there's always new things to inspire you. 

My biggest tip tho. That I really wish I had been taught. Is don't be afraid to fail. You don't need to post every drawing and no one's art is always perfect or comes out how they want. I didn't draw poses or hands because I was scared of being bad at it and stagnated as an artist. So don't be me. Be better than me. 

But yeah. Building a visual library of references, inspirations and things you like is my other big tip. It helps with artblock and other artworks personally inspire me. 

Hope that helps! There's books on anatomy, figure drawing and everything you can think of as well. But there's also tons of online resources that are free. If you can't afford or attend figure drawing sessions. It's okay to use pictures! There's sites that are just for figure drawing. If they have a class room option that's what I recommend. It helps loosen you up and forces you to consider the anatomy. 

[kyidyl]

Can we talk about art for a second?

I’m pretty sure none of you are following me for art content because that’s just not what I do normally, but I’ve been working on some stuff and I just wanted to share. Here’s my current WIP:

I’m using sketchbook on my iPad Pro, and...can we just talk about process for a second? I’m gonna put this behind a cut just in case it gets long and because this isn’t my normal content. 

So I’ve been drawing almost my entire life, but I didn’t really start teaching myself anything good until around 9th grade (which is like...14 years old.). I started by copying Disney characters and then I was introduced to comic books and I copied those. I was in college when digital art start making its way into the art world. People would color their pencil drawings (this was shortly before tablets, so...with a mouse.). I grew into an artist around the time people like Aimee Major and Stephanie Lostimolo were really starting to stand out. And I don’t know about other fandoms, but I was in the gargoyles fandom and from what I can tell...a LOT of modern digital art has its genesis in that fandom. Anyway, what I’m trying to say here is that I started using photoshop with version 3.0 and I’ve had a Wacom tablet almost since the day they came out (gen one graphire tablet represent!).

I’ve never, in all that time, gotten the hang of digital painting. I have a hard time with tablets because you can’t tilt them like you can tilt a paper and it takes a weird sort of hand-eye-screen coordination that I just never mastered. But digital art is so beautiful that I’ve always WANTED to be able to do it. I can make graphics and edit photos but I have a hard time with painting. I have seen the million myriad ways of doing it, and most of them start with the same idea: lay down flats and then lighten or darken as necessary. And this never worked for me because a, the airbrush tool isn’t painterly enough for me and b, it takes for goddamned EVER. For. Ever. And I’m a fast artist! I can spit out a whole line drawing in like a half hour-45 mins with traditional media. But I have adhd, and so finishing long term large scale detailed projects is often not in the cards for me. So dumping like 48 hours of work time into a painting isn’t going to work for me.

But recently I’ve gotten back into art again and I’ve been watching the sky artist of the year and I decided I was curious about oil painting and, well, one hyperfixation later, here we are. I don’t have the money or space for actual oil painting, so I went to sketchbook to see if there was an alternative, and there is! So because I wanted to learn how to oil paint I finally figured out how to digitally paint and I’m gonna share that with you in case you, like me, struggle with the time input and focus required to do digital art.

First, I started practicing poses by drawing an outline over any image that caught my fancy. I have a good understanding of human anatomy because of my science background, but my poses aren’t creative and I especially struggle with perspective and multiple figures in an image. So I started to do line drawings over an image. Here’s the stock image I used for the WIP:

Look at all that fabric! Look at the movement! I love it. So I traced it:

Yes, TRACED, because tracing is a tool like anything else.

Then I choose colors. I pick 5: a midtone (the color you want the thing to be perceived as. In my case, you can see it in the WIP at the top.), a slight dark, a slight light, a blackened tone for deep shadow, and a very light tone for highlights. I always default to white light when choosing these colors, and I’ll get to my reasoning further down. The palette for the robe looks like this:

(Ignore the tan and blue, they’re for another project)

Then you start to lay down flats. Now, I do this with the synthetic oil brush in sketchbook because I like the texture (this image though I’d laid down the flats with the airbrush months ago and didn’t want to redo it, hence the lack of texture and the 100% opacity.), and as with oils, my approach to digital now is to layer rather than cover. Staying in the lines isn’t important. In fact, you should go outside of the lines because it will help you get shadows and highlights along the edges later. What IS important is putting everything on different layers. When in doubt, new layer. I work from back to front, which means that the base layer is the background. In front of that is the skin, in front of that is the robe, in front of that is the teal inside of the robe, in front of that is accessories. Hair varies depending on what’s going on with the image. Here I’ll probably put it between the skin and robe. Ask yourself: what is this covered by? And the use that to decide layer placement. Special effects are a whole other thing, as are highlights. I’ll get to that in a second tho.

The next step is to create an oversketch. This serves much the same function as an undersketch in oil painting, only in reverse because your reference photo is under - and covered - by your work. I started doing it because as I was painting I was flicking the layer on and off, making it transparent, whatever just to see where the shadows are on the reference image. It was a real pain in the rear. So I started making the blobs and borders of the highlights and shadows with an oversketch. You don’t need a method for telling which boundaries are for shadows and which are highlights because for that you can just turn the layer on and off. Just mark where the General shapes are. Here’s the oversketch for this drawing:

See? Blobs of General Area. When you’re painting, use them to lay down color and then turn them off when you’re blending because they’re not part of the final image and you don’t want to end up with gaps that were covered by the over sketch. To do this, I use the 9b pencil tool and black, but tbh just se whatever you like. That’s just my preference.

Now, for the shading. I started by trying a bunch of different natural media brushes but I eventually ended up sticking on a kind of weird choice: the fan brush. I keep the flow around 20%, which gives me these nice textured marks to lay down color, but then if I don’t lift the pencil up it stops laying down color and instead starts to blend. This means a, I can make it as smooth or painterly as I like with one tool and b, I can paint and blend with the same tool. No more muddying up my drawings by over-blending with the smudge. No losing the texture while blending because it blends with the texture. And the shape of the fan brush allows me to be smudgy with I like, but also will do hard edges. Plus the blending thins out the colors so I can get neat effects by laying down colors on top of each other because it stays a little transparent. You end up needing to lay down a lot of “paint” to get opacity but that’s ok because it allows you to make more complex colors. That’s good, because things like skin aren’t a color. They’re chemical: they’re melanin in cells over blood vessels and muscle and skin is transparent. Even very dark skinned people have undertones. So when you build up paint this way you can capture undertones without ruining your painting. Which, I’m pretty sure, is how it works in oils. But it translates well to digital.

So at this point, painting your image is basically a calming adult coloring book. You lay down color, blend, check your reference, repeat. But a few things to keep in mind:

- Take note of the darkest and lightest areas of the image. Nothing should be lighter or darker than these areas. Nothing in the drawing above will be darker than her back because that’s the darkest area of the painting.

- See the trees and the forest. Sometimes a detail doesn’t make any sense until you’ve seen it in context. Trust your guide and your photo reference. But also make sure that you don’t get so stuck in the details that you can’t relate one area to another. A fold that goes through two areas should be consistent across those two areas, even if you painted them separately. An area might seem dark in comparison to what’s next to it, but it isn’t as dark as the darkest area of the image so don’t go whole hog. Keep it in context.

- Folds in clothing aren’t nonsensical. They are a result of the movement and weight of the fabric. Ergo, the shadows and highlights that create them should also make sense.

- If you’re having a hard time figuring out where the highlights and shadows are, make a copy of the reference image layer and desaturate in, then turn off the colored reference layer.

Lastly, I’m finding it helpful to keep the highlights from colored light on its own layer. I didn’t used to do this, I used to use the colored light as one of my highlight colors. But the truth is that most objects are shaded by more than one light source, and so I’ve decided to do all the shading as white light and then the green (which will eventually be from some kind of green magic.) is on a different layer. My reasoning for this is that it helps keep the integrity of the shading and it prevents the colors from bending too much and getting muddy. So if I add a green highlight and I don’t like it then it’s easy to remove. I don’t have a highlight and shading that’s now ruined by green because I’ve been using light flow brushes. So colored light on its own layer. How much of a highlight you give it entirely depends on how strong your light sources is and whatnot. So far I’m satisfied with just hitting the high points, but I may change that later on.

When you’re done painting the area, go ahead and erase all of the excess paint around the edges of it and clean it up. I like to leave the black outline as part of the image, but if you don’t want to do that you should turn it on and off as necessary while painting so you can make sure to fill in gaps and get clean lines between the areas of color.

So if you made it all the way down here, thanks for reading my ramble. :)

[robwilsonimages]

How can I use critical thinking as a tool for my creative practice?

Rob Wilson

Blog Entry 1

22nd October 2019

 Defining critical thinking is more challenging than is often assumed. It is generally accepted to be a learnt rather than innate skill, and anyone working or studying within academia should possess an understanding of what it is. However, there is no single accepted definition. In fact, Fisher (2001, pp. 2-5) gives four different definitions developed during the 20th century. A useful short definition is provided by Paul and Elder (2006, p. 4), ‘Critical thinking is the art of analyzing and evaluating thinking with a view to improving it.’

In an instructive study, Moore (2013) analysed how seventeen academics working at Australian universities defined critical thinking. Whilst all stressed the importance of critical thinking to a university education, their views of critical thinking were diverse. Their responses were placed in a frame of seven different definitions. Two of their definitions are particularly useful for the application of critical thinking within creative photographic practice. These are (pp. 510-518):

1.      Critical thinking as judgement

2.      Critical thinking as a careful and sensitive reading of the text

The application of and focus on these facets of critical thinking to our image making can enable the creative photography practitioner to produce images that are sophisticated and intellectually stimulating.

Critical Thinking as Judgement

When we read a text or, in this case, view a photograph we make a judgement. If we do not make a judgement, then what we are reading or viewing is of little use. As one of Moore’s subjects earthily states (p. 511), ‘I like to say to students – would it profit you to read the entirety of Aristotle’s work, and form no view whether it’s bullshit or not?’.

Judgement is a consistent theme within photography (and, of course, art in general) particularly when viewing the work of others.  Whether this judgement always represents critical thinking is a matter of some debate. For example, William Eggleston’s first solo exhibition at MOMA was famously described in the New York Times as "…Perfect? Perfectly banal, perhaps. Perfectly boring, certainly." (O'Hagan, 2010). Time and more thoughtful judgement have not supported this view; Eggleston is now one of the most revered and admired figures in photography.

However, as a creative practitioner, exercising good critical judgement, rather than just judgement, when reviewing your own work is vital. We must challenge ourselves about its value. Our critical judgement is our quality control. If the work cannot meet our own standards, it is unrealistic to expect them to meet anybody else’s. To again use Moore’s subject’s robust terms, we should consistently ask if our work is ‘bullshit or not’.

We can make that judgement by critically reading our own work.

Critical thinking as a careful and sensitive reading of the text

Whilst Moore’s subjects were discussing academic writing, here our ‘texts’ are photographs, but we can apply the same reasoning to them. The ability to critically read a photography is central to photography theory, and, it can be argued, is what makes photography interesting as an art form. This is not to say that photographs are always readable in this way. Stephen Shore (2015, p. 192) is particularly dismissive of ‘camera club’ photography. He feels that images of this nature have ‘no particular intentionality, no real aesthetic intelligence behind the photograph. It was about making pleasing pictures.’ If we, as creative photography practitioners, want to produce work that is of value, we should be aiming to create work that can be critically read.

In Image of Imperialism, the first essay of Understanding a Photograph (2013), John Berger gives a detailed analysis of an image of the dead Che Guevara. He compares the photograph to Rembrandt’s The Anatomy Lesson of Doctor Nicolaes Tulp and Mantegna’s Lamentation of Christ. His reading of the photograph is educational and insightful.

Freddy Alborta, Che Guevara Dead, 1967

Rembrandt, The Anatomy Lesson of Dr Nicolaes Tulp, 1632

Andreas Mantegna, Lamentation of Christ, 1480

Barthes (1980) goes even further and provides us with a framework for critical reading of images. His studium is what creates a general interest in an image, but it is the punctum, a small feature of the photo – a ‘sting, speck, cut, little hole…’, that ‘pricks’ the viewer and is ‘poignant’. For example, in the photograph below, taken by Nadar, the leading portraitist of his day, Barthes’s punctum is the folded arms of the boy on the left.

Nadar, Savorgnan De Brazza, 1882

 One of the most famous photographs ever taken, Dorothea Lange’s Migrant Mother, has been critically read in multiple ways. This is described in detail in the opening chapter of Photography: A Critical Introduction (Wells & Price, 2015). 

Dorothea Lange, Migrant Mother, 1936

For example, Fisher (1987, in Wells, 2015, pp51-53) makes a feminist analysis of the image and argues that it makes Lange the ‘mother’ of documentary photography. Addtionally, Pultz (1995, p. 93, in Wells, 2015, pp53-54) analyses the image through its pose and analogises the image to a painting. Finally, Beloff (1985, in Wells, 2015,p54) wishes to iconise the image:

‘Such is the power of the camera that we can easily think of photographs as having a kind of independent reality. Dorothea Lange’s Migrant Mother is a picture that has entered Western consciousness. She is not a mere representation.’

To make a judgement about a photograph, the viewer needs to be able to read the picture. That reading can be made in thoughtful, calculated terms as is outlined above, but equally it can be as simple as the viewer saying, ‘I like this picture because…’. As we desire to be sophisticated creative practioners of photography, we should strive to produce images that demand more than only the second type of reading. (It should be noted that there is absolutely nothing wrong with enjoying a photograph simply for its aesthetics.) Applying critical thought to your work as a creative practioner of photography is vital. It is a skill that enables us to produce work that distinguishes itself from the prosaic ‘camera club aesthetic’ that Shore is so sceptical and dismissive of.

This article has attempted to show the importance of critical thinking in our creative practice and how its application can enable us to produce sophisticated and readable images. This leads to one more thought-provoking question in terms of how and when we apply our critical thinking skills to our image making: Should our critical thinking skills be applied while we are taking photographs, should those skills only be applied afterwards when editing and reviewing our images, or should there application be constant throughout the whole image making process? The answers are beyond the scope of this article but are perhaps questions that should be considered by all creative photographic practitioners.

  References

Barthes, R. (1980). Camera Lucida. 2010 ed. New York: Hill and Wang.

Beloff, H. (1985). Camera Cultural. Oxford: Blackwell.

Berger, J. (2013). Understanding a Photograph. Kindle ed. London: Penguin.

Fisher, A. (1987). Let Us Now Praise Famous Women. 1st ed. London: Pandora.

Fisher, A. (2001). Critical Thinking: An Introduction. 1st ed. Cambridge: Cambridge University Press.

Moore, T. (2013). Critical thinking: seven definitions in search of a concept. Studies in Higher Education, 38(4), pp. 506-522.

O'Hagan, S. (2010). Was John Szarkowski the most influential person in 20th-century photography?. The Guardian, 20 July, p. online.

Paul, R. & Elder, L. (2006). The Miniature Guide to Critical Thinking: Concepts and Tools. s.l.:The Foundation for Critical Thinking.

Pultz, J. (1995). The Body and the Lens: Photography 1839 to the Present. New York: Harry N Abrams, Inc.

Shore, S. (2015). Uncommon Places. 2nd ed. New York: Apeture.

Wells, L. & Price, D. (2015). Thinking about Photography. In: L. Wells, ed. Photography: A Critical Introduction. Abingdon: Routledge, pp. 9-74.

[omnitf]

What advice would you give someone who wanted to write their own jock TFs?

Here’s a few solid tips that you can make use of in your own writing:

1. Make the transformation realistic and believable. Most changes can’t be and won’t be dramatic and instantaneous. It depends on the circumstances, of course, but regardless, make sure that the characters are relatable and have their own personalities and quirks that we can see and hear through your writing.

2. Descriptors are another very important factor when it comes to transformation. Help the reader to see everything, so they know how a person is changing.

3. Have a clear idea in mind for how you want the change to go when you start. Do you want it to be quick and dramatic or slow and gradual?

4. Listen to your characters. Don’t be afraid to stick yourself in their heads and figure out what they would do in a situation, even if it goes against your initial story idea. Often, I find it’s best to follow the characters’ actions and then guide events gradually to reach the conclusion, rather than shoe-horning it into place.

5. Be flexible. A curveball can fly your way at any moment as the story unfolds. It’s up to you to notice these sudden changes and act accordingly.

6. (Please note, this is a personal preference on the matter, and I am biased.) Don’t rely on graphic sexual content. Too many people focus on porn to sell their work. While I understand it can be used as a tool and can be utilized well by others, personally, from what I’ve seen on tumblr, people tend to take it too far. Let the story itself draw a person in. Changes in anatomy are fine, and talking about certain “conquests” may well fit in with a character’s mindset and actions, but don’t actually write out the acts of masturbation or other forms of sexual action. It’ll force you to focus more on the characters, their mental states, etc., and the story quality, if you write in this manner. That being said, I know some prefer to use sex as the catalyst for a transformation, in which case, I know this advice probably wouldn’t necessarily work. That’s in your hands to decide how you choose to write your TF.

7. Make use of all the tools of writing. These include personification, alliteration, characterization through appearance, italics, certain forms of sentence structure, etc. Each of these factors are incredibly important to helping draw a distinctive narrative.

8. SHOW, DON’T TELL! I can’t begin to tell you the number of writers who have this problem when they do a story. I did the same thing when I first started. Exposition is a pain and a hard habit to break. You need to learn to balance it with action, including dialogue and actual movement. For example:Malcolm clenched his hands into fists and narrowed his gaze. “Care to rephrase that?” he growled.You’ll note that I included action that indicated a combative posture, followed by the dialogue and descriptor that confirmed the implication. It’s a subtle art, but worth the effort to learn and master.

9. Seek for Inspiration. There is a reason that captions are so popular in the jock tf genre. The picture helps to give an image for the reader to lock onto in the story’s progress. It also serves as inspiration for the writer. I often search for a good picture that fits with the idea I have in mind or inspires me in some way, and then more forward from there.Inspiration may also be found in other ways. A passing phrase, an old saying, a pun, a book or magazine, etc. Look for these different avenues and make use of them as you search.

10. You must do reeeeeesearch! (Uncle says) Cookies to those who get the reference. Joking aside, it’s the truth. Make sure you look up the information you need for the story you have in mind, whether it be the names of certain muscles or muscle groups, exercises, diets, etc. Try to make the details in your story accurate. It makes a huge difference. I often do my research on the fly as I need, when I wish to incorporate an aspect into the story, but don’t know if it will work or simply don’t know anything about it. Google is a saving grace there. Whether it’s on the effects of hypnosis, how to write a hypnotic script, some sort of mythical entity or deity, etc., make sure you know enough about it to make use of it properly in your story.

11. Find something that motivates you! If a story doesn’t motivate or hold you as you write it, it’s very difficult to keep writing. Not impossible, mind you, but it’s a slow process. Make sure you enjoy writing the story. That’s what matters.

12. Tune into the world. You are the crafter, yes, but by actually putting yourself into the world and visualizing it, you’ll better be able to describe it to the readers and foresee where things will go as you write.

Hopefully, these tips will prove useful to you and any other writers interested in doing jock tfs or any others, for that matter. Thanks for reading! :D

[woosper]

If you want to increase your Instagram profile engagement, followers, etc., there are many ways to do that, but which methods give you the best results? Check out our new blog and boost your profile today.

[watercolorgalore]

The Lore Behind Watercolor Fantasy Genre (Introducing My Topic)

Note: This time a warrior comes charging towards the post. I took references of Valkyries from Norse mythology. This is something different for me since I rarely tend to draw female characters. I kept myself aware of the proper body proportions and anatomy to still make her look feminine.

Watercoloring may be the main concept here but that would not work without drawing first. As this also applies to any other form of art methods, drawing acts as the foundation for it all. Then comes the basic elements of the artwork - line, shape, space, color and texture - regardless of order or inclusion. Painting with watercolors is like adding layers upon layers of details meaning that patience is crucial in between the process of letting the paint dry. It matters because it can help you identify your style and attitude towards creating art.

Toddlers can’t just run without learning how to walk first, and drawing is universally experienced by everyone since they were little too. This spontaneous childhood activity is often dropped as we grow up and become more critical of our efforts. In social situations where people are required to draw something, you would typically have someone admitting they are bad at drawing and just laugh it off. It’s so common that it makes drawing seem like a difficult skill to master or just for the few who are naturally gifted.

While drawing may not be for everyone as there are other skills and professions that contributes to society with more relevance, it still serves as a guide before action. Cake designers, fashionistas, and mechanical engineers draw up their plans before executing/rejecting them. And have you seen news stories about people without arms defying their disabilities and inspiring the world with their own artworks? Tons of it online. Drawing well is not impossible. You just need good hand-eye coordination, adequate depth perception, and a wild imagination! There is an artist lying dormant in all of us.

Like me, you can pursue it as a hobby and challenge life concepts. Pictured above is my attempt at projecting a certain stereotype with the intent of getting different reactions from viewers. I think creating a female warrior would appeal to the male fantasy. There must be people out there that are into fiery redheads. Bright auburn locks match her ferocious image, symbolizing destructive wildfire. Personally, the thought of publicly producing any artwork involving female subjects is quite risky nowadays yet very thought-provoking. I ask myself whether the fictional character I created is empowering or mildly inappropriate to some.

Besides that, others might do it to relieve stress and explore what they can do with their imaginations or as a way to connect with people. Parents keep their children’s crayon doodles of family portraits within eyes reach as heart-warming mementos… or sometimes as the only things that is left of them. A certain aspiring artist (who enjoyed watercolors as well) got rejected by the same art school twice yet he managed to change the world forever.